No, sadly I don’t own this Canon 200mm EF IS USM f2.0 lens…(only $5,699 from Adorama canon 200mm f2 adorama)…but I rented it from http://www.lensrentals.com for a couple hundred bucks for a week. I DIDN’T WANT TO GIVE IT BACK!

I used it on my Canon 7D (my new Sony A6500 always had the Canon 400mm f5.6 lens on it for 4K video usage) and I often hand held it, even though it weighs a hefty 5.6 pounds! Here are a few things I loved…

1. Incredibly sharp lens!
2. Lovely “bokeh” at f2.0 (the buttery backgrounds caused by the shallow depth of field when shooting wide open at f2.
3. Snappy focus
4. Solid feel
5. Image stabilization that really worked
6. Able to shoot hand held in low light situations due to the “fast” f2.0 aperture.

Now, I’m not a techy photographer, but I could instantly tell when I downloaded and viewed my photos on the large computer screen that this lens creates very sharp photos with beautiful backgrounds. I shot almost every image with this lens wide open at f2.0.

BUT you need the right subject in the right situation for this lens to shine. Before we went on this trip I searched Flickr for all images shot with “Canon 200mm f2” lens. 90% were portraits of people. And the reason for this is that you need a fairly large subject (human, Bison, Pronghorn) at a fairly close distance. This rarely happens in wildlife photography…But in Yellowstone, the wildlife is used to humans so you can get quite close. And it’s open country. Ideally you also need some stuff in the foreground and background in order to show off the shallow depth of field. Look especially at the foreground and background in the photos below…You could never get this kind of bokeh (blurred background/foreground) with other telephoto lenses at this distance.

OR you need smaller subjects shot at close range (Raven, Harlequin Duck, Shooting Star flower). The lens only focuses to 6.2 feet at the close end, but you could add extension tubes for real dreamy background close up work.

Conclusion? All in all, a magnificent lens…for the right situations. Really not sure how much use it would get in northern Minnesota where the wildlife is usually in thick cover, and often only seen briefly. It would be very cool for large northern owls (who are quite tame), but probably does not justify a nearly $6,000 purchase. Maybe I could justify it by adding a 2x extender and making it into a 400mm f4 lens…Naah. BUT I will definitely rent it again on a future Yellowstone National Park trip.

Talk about sharp…Wow! I zoomed in on the reflection in the eye of the Raven and could easily see and count the pine trees in the background.

[Canon 7D with Canon 200mm f2 lens; 1/320 at f2; ISO 100; +1.33 ev; handheld; Processed in Adobe Lightroom]

[Canon 7D with Canon 200mm f2 lens; 1/1600 at f2; ISO 250; +0.33 ev; handheld; Processed in Adobe Lightroom]

The lens is great for eye-level water shots in order to separate the subject from the background on lakes, river. With other lenses (such as the 70-200mm f4 lens) the background would be much more detailed and the birds lost in the composition. Also note the Trumpeter swan photo below.

[Canon 7D with Canon 200mm f2 lens; 1/1250 at f2; ISO 100; +1 ev; tripod; Processed in Adobe Lightroom]

Here is an example of an image that may not look too different with another lens as I shot it at f4.5.

[Sony A6500 with Canon 200mm f2 lens; 1/320 at f4.5; ISO 100; handheld; Processed in Adobe Lightroom]

[Canon 7D with Canon 200mm f2 lens; 1/400 at f2; ISO 100; +1.33 ev; handheld; Processed in Adobe Lightroom]

[Canon 7D with Canon 200mm f2 lens; 1/1000 at f2; ISO 100; handheld; Processed in Adobe Lightroom]

[Canon 7D with Canon 200mm f2 lens; 1/1250 at f2; ISO 100; +0.66 ev; handheld; Processed in Adobe Lightroom]

[Canon 7D with Canon 200mm f2 lens; 1/500 at f2; ISO 100; +0.66 ev; handheld; Processed in Adobe Lightroom]

[Canon 7D with Canon 200mm f2 lens; 1/1000 at f2; ISO 100; +1.33 ev; handheld; Processed in Adobe Lightroom]

[Canon 7D with Canon 200mm f2 lens; 1/2500 at f2; ISO 100; +1 ev; tripod; Processed in Adobe Lightroom]

Not sure why I shot this at f2.0….Should have shot at f8. No need for shallow depth of field here.

[Canon 7D with Canon 200mm f2 lens; 1/1000 at f2; ISO 100;  -0.66 ev; tripod; Processed in Adobe Lightroom]

This lens really shines with low angle photography. This was shot BELOW eye-level and makes the Bison look quite ominous…And I was not too comfortable being this close.

[Canon 7D with Canon 200mm f2 lens; 1/1000 at f2; ISO 100; -0.5 ev; handheld; Processed in Adobe Lightroom]

Classic photo with the f2 lens…A boring image with any other lens, but the blurred background and foreground created by shooting at f2.0 make this less than boring (But not that great either).

Love this! The ONLY sharp thing in this photo is the flower head of this tiny Shooting Star wildflower (see image below for size scale).

[Canon 7D with Canon 200mm f2 lens; 1/3200 at f2; ISO 100; handheld; Processed in Adobe Lightroom]

Ryan photographing the same Shooting Star wildflower for scale.

[Canon 7D with Canon 200mm f2 lens; 1/1250 at f2; ISO 100; +0.66 ev; handheld; Processed in Adobe Lightroom]

Sharp!

[Canon 7D with Canon 200mm f2 lens; 1/320 at f2; ISO 100; handheld; Processed in Adobe Lightroom]

Getting a beautiful, artistic photo of a butterfly is more of a challenge than you’d think. After all, they are attractive insects that regularly perch on attractive flowers. How hard could it be? But the challenges are many…How do you get close? What lens do you choose? Why is the background so cluttered? Here are 13 tips that will improve your butterfly images 100 percent.

1. GET EYE LEVEL

Silver-bordered Fritillary (Boloria selene) on Daisy Fleabane, MN

This is probably the #1 tip to getting better butterfly photos (combined with Tip #2). I’ve said it before and I’ll say it again, eye-level photos bring greater intimacy to the photo and a stronger connection to the critter by the viewer. So you’ll be doing a lot of crouching, kneeling, stooping and crawling through meadows, but it will be worth it.

2. USE A TELEPHOTO LENS

Marine Blue (Leptotes marina) Lower Rio Grande Valley, Texas

It is VERY DIFFICULT to get great, or even good butterfly images with a wide angle or normal (50mm) lens. The short focal length does not give you enough working distance…i.e. you can’t get close enough to skittish butterflies (almost all fall into this category!) to make them large enough in the frame for a pleasing image.) And if you could, the wide and regular lenses allow too much depth of field so that you would have a cluttered background of in-focus leaves and stems. I shoot almost ALL of my butterfly images with a 200mm lens mounted on a 1.6x crop-sesor DSLR so it effectively becomes a 320mm lens! This allows me to shoot from a distance that does not spook the butterfly and gives me a shallower depth of field so background vegetation blurs nicely.

3. SUPER MACRO

Tiger Swallowtail (Papilio canadensis) Sax-Zim Bog, MN

The crazy and wonderful patterns on all butterfly wings are the result of colored scales. In this cropped close up of a road-kill Tiger Swallowtail’s hind wings you can see the individual scales. Maybe you remember a poster that showed the entire alphabet, each letter a macro image from a butterflies wing. Fresh road-kills are great for this purpose as few living butterflies would allow this close approach. Now you can use your 60mm or 100mm macro to zoom in on the detail. Great for the “Wow Factor.”

4. BACKLIT BEAUTY

Silver-bordered Fritillary (Boloria selene) Minnesota

This is a fun technique to try later in the afternoon when you have butterflies perching atop wildflowers with dark backgrounds. Underexpose by at least 1 stop…maybe 2 stops…to get this effect. The wings just seem to glow. Remember to turn off your flash too!

5. WATCH YOUR BACKGROUND

European Skipper (Thymelicus lineola) Carlton Co, MN

The nicely blurred, smooth green background (called “buttery bokeh” in photographer jargon) in the image above is the holy grail of butterfly photography. But it is difficult to achieve. The trick is having the background vegetation far enough away so it blurs at the f-stop you are shooting at, yet keeping all or most of the butterfly sharp at the resulting depth of field. To get this effect, I am often shooting at f5.6 to f8…depending on if the butterfly’s wings are held flat or together over its back (f5.6) or slightly spread (f8 to get more depth of field).

6. WAIT FOR THE FLOWER

Sheep Skipper (Atrytonopsis edwardsii) Big Bend National Park, Texas.

Sometimes a drab butterfly can play second fiddle to the flower it is feeding on. Such was the case with this brown-gray Skipper nectaring on this stunning cactus flower. This principal can apply to all butterfly photography…Park your butt at a magnificent specimen of a flower and wait…On hot sunny midsummer days you shouldn’t have to wait too long.

7. GET HORIZONTAL (AND DIRTY!)

Baltimore Checkerspot (Euphydryas phaeton) Cranberry Rd Sax-Zim Bog MN

Many species of butterflies perch on the ground (especially dirt roads and trails) where they take up water and minerals from the soil or animal dung. But a photo from the standing position may help you identify the beast but not be a very pleasing image. So I usually find a subject that seems to be preoccupied with feeding, lay down on the ground a safe distance away and slowly work my way closer. It is rather painful on elbows and knees and necks but does not alarm the bug as much as approaching on foot. When I get within range, I switch to LIVE VIEW so I can view the butterfly on the back of the camera. I then just extend my arms and watch the Live View until I have my perfect framing and subject size. Of course, the success ratio for all butterfly photography is VERY LOW so don’t get discouraged; Try, try again.

8. FILL FLASH

Monarch (Danaus plexippus) on Liatris, Carlton Co, MN

Maybe 50% of the time I’ll use fill-flash in my butterfly photography. It helps define wing patterns on sunny days, illuminates shadowed underwings and faces, and can freeze motion. I either use the pop-up flash or an external flash and always set it to -1 1/3 e.v. BUT if the sun is at my back and not high overhead, I probably won’t use it. Sometimes it becomes difficult to use it on sunny days too because even at low ISOs you have to have a small aperture (f16) to shoot at the flash sync speed (1/250 for me)…and then the background is too much in focus.

9. DON’T FORGET THE UNDERSIDES

Red Admiral (Vanessa atalanta) Carlton Co, MN

The undersides of many species wings are as spectacular, or in some cases, even more stunning than the pattern on the top side of their wings. This is true for many fritillaries whose top sides are all very similar, a patchwork of orange and black markings, but underneath they have distinctive and colorful spots and patches.

10. …AND DON’T FORGET THE CATERPILLAR!

Monarch caterpillar (Danaus plexippus) on Milkweed, Carlton Co, MN

Though most spectacular caterpillars that you come across are actually the larva of moths, there are some stunning butterfly caterpillars. The Monarch’s caterpillar comes to mind first, but the larva of the Baltimore Checkerspot and most swallowtails also make great subjects. And don’t forget the Harvester caterpillar…It is the only carnivorous butterfly caterpillar, feeding on woolly alder aphids.

11. BUTTERFLY IN HABITAT

Common Ringlet (Coenonympha tullia) Western Minnesota

You don’t always have to get frame-filling images. Sometimes it is good to back off and include more habitat. This Common Ringlet is a butterfly of prairies, marsh edges, meadows and other open country so in addition to the close-up I also got a wider shot showing the grassland habitat.

12. FLIGHT

Regal Fritillary (Speyeria idalia) Nachusa Grasslands in northern Illinois

Pipevine Swallowtail (Battus philenor) and Texas Bluebonnets, near Alice, Texas.

Here’s a challenge for you; Try to shoot a butterfly on the wing! Autofocus won’t work—the butterfly is too small in the frame—so you need to manually focus. Talk about low-percentage shooting! Though this swallowtail is not sharply in focus, I still think it works as a unique flight-habitat image. p.s. I went back to this same ranch the following April and due to drought there was not a single flower in this pasture!

13. KNOW WHERE TO GO…BUTTERFLY MAGNETS

Sulphurs “puddling” in South Texas

Knowing when and where to go are about as important as all other tips. First, get a good regional butterfly guide and study it. It should give you an idea of when the butterflies on the wing (“flight phenology”) and the habitat to look for them. Behavior can also lead you to subjects; “Puddling” as in photo above is when several butterflies concentrate at wet soil or mud to take up nutrients. On top of hills or slight rises with openings you may find mixed groups of butterflies “hilltopping,” a common butterfly behavior. Animal dung/scat also attracts butterflies who take up nutrients from the dried piles…But this doesn’t make for very attractive photos! Bottom line…Get to know the biology of your subjects and your chances of success improve greatly.

Okay, a shameless plug for a field guide to butterflies of the North Woods (which includes species of Minnesota, Wisconsin, and Michigan) published by my company (www.kollathstensaas.com) and written by my friend and neighbor, Larry Weber. Includes all 125 species found in the North Woods and phenograms, habitat, identification and biology for each. You can Buy it at Amazon.